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正像16世纪整理和创编维吾尔族古典音乐“十二木卡姆”的阿曼尼莎罕(1526-1560)一样,王玫和她新疆班的年轻人,用了四年的时间共同生长出了有着传统维吾尔族舞蹈语汇与当下灵魂的一系列舞蹈作品。在观看北京舞蹈学院2011级编导系新疆班学生们的毕业创作时,我想到了阿曼尼莎罕.这个出生在塔克拉玛干沙漠附近小村庄的平民的女儿,后来成了叶尔羌国王妃,凭着自己对诗歌与音乐的热爱,将晦涩难懂、宗教色彩浓厚的波斯语木卡姆歌词,改成了流畅的以纳瓦依抒情诗为主的突厥语诗词。并且,阿曼尼莎罕还将自己写作的大量爱情诗也填入木卡姆的曲调中,甚至还创作了
Just as Amanhachahan (1526-1560), who organized and compiled Uighur classical music in the 16th century and “Twelve Muqam,” Wang Mei and her young people from Xinjiang classes spent four years growing together Out of a series of dance works with the traditional Uighur dance vocabulary and contemporary soul. When I watched the graduation work of students from Xinjiang Class 2011, director of the Beijing Dance Academy, I came to think of Amanhachahan, the daughter of a civilian born in a small village near the Taklamakan Desert and later became a Princess of Erqiang My love for poetry and music, the obscure, religious Persian Muqam lyrics, into a smooth Narvayi lyrics based Turkic poetry. Moreover, Amanishahak also filled a large amount of love poems he wrote himself into the mukum’s tunes and even created